I'll give you a cheap but effective solution... go to home depot, buy some 500w work lights, get a rheostat/dimmer and set the WB to tungsten and away you go... you shouldn't spend more than $10 a light and you can even get them with stands... They may come with a grid on front of the light so you dont burn yourself touching it, but remove it and there you go... a constant lighting kit for a fraction of the cost.

Forgot to mention this.... Turn IS off on your lens or it will become part of your soundtrack.... Or better yet, get an external mike, or take a phone, get a sound recording app, and let it sit by the people and mix it in at production time.

Thanks for all of the advice!!I have the Rode videomic I keep on the shoe....I got a Rode stereo mic, if I had help I'd set that up too maybe...

On the other hand, I'm guessing this will mostly end up a montage with music over it...so, sound likely not that big a deal.

I'm meeting with the organizer this weekend to see what's exactly expected. this is a non-paying gig for charity.

On rental lenses....what would be the best to get?

85 f/1.2? 50 f/1.2?

I have the 85 f/1.8...so, should I got for renting the 50 f/1.5....

I was hoping since my 17-40mm, while being f/4...would still be usable at the wider angles...?

Thanks for all the advice so far.

C

I know he rode video mic is a well regarded mic, but please be aware that if you are in a noisy area, like a bar, it's not much better that the built in mic unless its on a boom pole..meaning it won't get the job done. Moreover as someone else said, beware of IS noise, the rode video mic mounted to the hot show WILL pick it up; make no mistake!. If money is an issue get yourself a cheap wired lav mic like the audiotechnica; believe me it will make a world of difference!

....Moreover as someone else said, beware of IS noise, the rode video mic mounted to the hot show WILL pick it up; make no mistake!...

I definitely disagree with that. I have shot many hours of material with a 5D3, hot shoe-mounted Rode Video Mic Pro and 24-105 and 70-200 2.8 IS II, both with IS on. I have never heard any audio noise recorded from the lens stabilization micro motors. Maybe you could hear it in a quiet room shooting an interview, but that is not the situation the OP described.

The OP made clear he'll be shooting hand-held and monopod video, and using the 70-200. Without IS it is very difficult to get usable material hand held, and even monopod shots with the 70-200 can be shakey. In the scenario he described the proven need for stabilization is more important than the unproven problem of audio noise from IS. I have spent hours in post scrubbing through hand-held and monopod DSLR video shot with non-stabilized lenses, trying to find usable clips. Without IS your % of usable material is much lower.

Forgot to mention this.... Turn IS off on your lens or it will become part of your soundtrack.... Or better yet, get an external mike, or take a phone, get a sound recording app, and let it sit by the people and mix it in at production time.

Thanks for all of the advice!!I have the Rode videomic I keep on the shoe....I got a Rode stereo mic, if I had help I'd set that up too maybe...

On the other hand, I'm guessing this will mostly end up a montage with music over it...so, sound likely not that big a deal.

I'm meeting with the organizer this weekend to see what's exactly expected. this is a non-paying gig for charity.

On rental lenses....what would be the best to get?

85 f/1.2? 50 f/1.2?

I have the 85 f/1.8...so, should I got for renting the 50 f/1.5....

I was hoping since my 17-40mm, while being f/4...would still be usable at the wider angles...?

Thanks for all the advice so far.

C

I know he rode video mic is a well regarded mic, but please be aware that if you are in a noisy area, like a bar, it's not much better that the built in mic unless its on a boom pole..meaning it won't get the job done. Moreover as someone else said, beware of IS noise, the rode video mic mounted to the hot show WILL pick it up; make no mistake!. If money is an issue get yourself a cheap wired lav mic like the audiotechnica; believe me it will make a world of difference!

The OP said this was going to be a montage shot to music. WTF is he going to be mic-ing up?

If you're recording dialogue in a crowded bar your suggestions are sensible, but that isn't the case here.

Similarly, for an unpaid charity gig, telling people they NEED a second camera, assistants and to hire/buy in a load of L lenses is comically over the top. My advice would be that if it isn't a paid gig, unless you specifically want material for a showreel or similar, then not to bother renting gear, or buying anything especially for this.

As with any project, scope out your locations in advance, if possible with your camera so you can take a few test shots to see how the lenses you have will deal with the lighting conditions.

..."the largest gathering of brides, in wedding dresses"...and then a pub crawl afterwards...This is in Sept, starts at 4pm....goes through evening...as the evening goes on....what do do about lights? and with me on foot for quite a bit of distance...I can't carry a ton of equipment by myself, and I'm likely to be a one man band here. I have my manfroto monopod with fluid head...I'll be bringing that...I have my sling bag...and figure I can carry my 70-200mm f/2.8.....my 17-40mm f/4....But I have no portable lights. Should I invest in some sort of small, portable LED lights?

I got a wedding reception at a dark venue with a 5D3, Manfrotto tripod, 17-40, 24-105 and 70-200 2.8 IS II. The material looked good even at ISO 12,800. Yes there was some noise but it's so dark you can't get the footage any other way and it looks atmospheric. Mic was Rode VideoMic Pro, but audio wasn't vital since much of the final material was covered by music added in post.

If you need to capture spoken word audio, using a remote mic or external recorder is good, if possible.

I used manual focus and a Zacuto EVF Pro, which was very useful. The 70-200 2.8 is a superb video lens even in crowded venues since it allows highly selective focus on the subject. It makes everything look cinematic.

I have LED lights but did not consider those since it can be intrusive if you want candid material. For more formal shots they're very helpful.

IMO using manual focus and a focus aid such as a loupe or EVF are vital for this type of event.

As others said, you really need another camera or assistant. Changing lenses all the time is a good way to miss key happenings.

If you have no recharging opportunities, you'll need at least three batteries, preferably four or five. It's better to not even try and recharge -- it's just one more drain on your limited bandwidth.

Whatever your configuration, you'll need practice before the event to make sure it all works. It is extremely easy to forget to turn on an external mic, forget how to change ISO while rolling video, forget how to adjust mic gain when the quick control dial switches to touch mode, etc.

For a loupe or EVF, all the fittings, screws, cables, etc. should be thoroughly checked out and practiced beforehand. If an EVF or field monitor is used, they have their own menus, modes and controls which should be well practiced.

Remember the 70-200 requires a tripod adapter (which comes with the lens); don't forget to take that. Have several quick-disconnect plates so you don't have to change from camera base to lens tripod adapter.

If it's the Manfrotto 561 BHDV monopod, test the ball mount thoroughly and make sure it doesn't stick or pop. Some of them do and can easily spoil a take by imparting a jerk to an otherwise-smooth pan or tilt motion. If it sticks you may be able to lubricate it, but do all that beforehand.

I spoke with the organizer this week, and she gave me the contact information for each of the bars we'll be hitting, so that I can contact them and go in to try to take some test footage.

I've been trying to shoot things with marvels cinestyle...flat so I can color grade. I've been able to do pretty good coloring and all with Davinci Resolve, but lately trying to round trip back into FCPX has been a PITA.

I've just installed Adobe Production Premium CS6, but I've not tried it yet.

Some of my problems doing flat styles, seems to be that I'd been underexposing things to make it look better in the live mode, but when I raised the exposure, I got LOTS of noise in the video image.

I'm wondering, for this shoot..should I just do the shoot in the "Normal" video style in camera, and just take that variable out of the equation for doing this shoot?

Most likely this will be used just for web promotions, but, it could also be used for TV broadcast for next year promos for ads, or local news show specials...etc.

So, I'm wondering if I should just blow off the flat style shooting and concentrate more on the logistics, and getting WB right. I have the expo disk so I can shoot a test shot at each site to get the WB set custom.

My 70-200 came with the extra holder for the lens, but I've removed that...from what I've done with it so far, I find it is ok to have it on the camera, and only the camera mouted to the tripod or monopod.

So far, it does still appear it will be JUST me...which kinda blows...if I had help, I'd bring along my slider too.But I can only do this with that I can carry and operate on my own...

Forgot to mention this.... Turn IS off on your lens or it will become part of your soundtrack.... Or better yet, get an external mike, or take a phone, get a sound recording app, and let it sit by the people and mix it in at production time.

Thanks for all of the advice!!I have the Rode videomic I keep on the shoe....I got a Rode stereo mic, if I had help I'd set that up too maybe...

On the other hand, I'm guessing this will mostly end up a montage with music over it...so, sound likely not that big a deal.

I'm meeting with the organizer this weekend to see what's exactly expected. this is a non-paying gig for charity.

On rental lenses....what would be the best to get?

85 f/1.2? 50 f/1.2?

I have the 85 f/1.8...so, should I got for renting the 50 f/1.5....

I was hoping since my 17-40mm, while being f/4...would still be usable at the wider angles...?

Thanks for all the advice so far.

C

I know he rode video mic is a well regarded mic, but please be aware that if you are in a noisy area, like a bar, it's not much better that the built in mic unless its on a boom pole..meaning it won't get the job done. Moreover as someone else said, beware of IS noise, the rode video mic mounted to the hot show WILL pick it up; make no mistake!. If money is an issue get yourself a cheap wired lav mic like the audiotechnica; believe me it will make a world of difference!

The OP said this was going to be a montage shot to music. WTF is he going to be mic-ing up?

If you're recording dialogue in a crowded bar your suggestions are sensible, but that isn't the case here.

Similarly, for an unpaid charity gig, telling people they NEED a second camera, assistants and to hire/buy in a load of L lenses is comically over the top. My advice would be that if it isn't a paid gig, unless you specifically want material for a showreel or similar, then not to bother renting gear, or buying anything especially for this.

As with any project, scope out your locations in advance, if possible with your camera so you can take a few test shots to see how the lenses you have will deal with the lighting conditions.

This shoot...will start from a restaurant (private rooms and on the balcony) in Jackson Square in the French Quarter in New Orleans.

Footage taken there...and just outside, so I'll likely to be able to get some sounds that is usable there...and most likely I'll be on foot with all the women, as they bar hop into the warehouse dist. This will be easily a mile or so as the evening goes.

I don't expect to get my usable audio later as more bars are hit and more alcohol is consumed...but who knows?